World region
Graphic-design styles from East Asia
Styles that took shape in East Asia, alone or together with other regions. Stylogeny describes 51 of them. The earliest began in antiquity, the latest in 2018. Of these, 35 are still in use.
The 51 styles
Oldest first. Each has its own page: its design choices, where it comes from, and real works.
Chinese Calligraphy & Seal Carving (Shufa & Zhuanke)The written art of China and the root of East Asian lettering.
Chinese Paper-Cut (Jianzhi)China's folk art of cut paper, made mostly by rural women and passed from mother to daughter, and by town guilds and workshops.
Song–Ming Woodblock Book Typography (Songti / Mincho)The page and letter of the East Asian book.
Kamon (Japanese Family Crests)Japan's family crests: small one-colour emblems that reduce a plant, animal, tool or pattern to a flat silhouette, mirrored or repeated around a centre, often ringed and drawn with compass and brush.
Nianhua & Chinese Folk PrintWoodblock pictures bought each New Year and pasted on doors, walls and kitchen shrines to invite luck and ward off harm: paired door gods, plump babies with carp, the Kitchen God, opera scenes and auspicious rebuses.
Mongol Bichig Calligraphy & Ugalz OrnamentMongolia's classical script and the auspicious ornament that frames it on state, Buddhist and household objects.
- Tibetan Woodblock Print Culture (Pecha & Prayer Flags)Tibetan Buddhist and Bön woodblock printing, from the first printed Kangyur (1410, cut in China) and the 15th-century presses of Gungthang to the great printing houses of Narthang, Derge and Lhasa.
Ma & Wabi-sabi AestheticsA Japanese aesthetic rooted in Zen and the wabi tea ceremony that prizes austerity, imperfection, impermanence and the charged interval (ma) between things.
Rinpa & Saga-bonA Kyoto school of decorative design that revived the poetry and court painting of the Heian period, begun around 1600 by the calligrapher Hon'ami Kōetsu and the painter Tawaraya Sōtatsu and carried on less by teaching than by admiration across generations: Ogata Kōrin, Sakai Hōitsu, Kamisaka Sekka.
- Ten Bamboo Studio Colour Woodblock (Douban & Gonghua)A kind of colour woodblock printing begun in late-Ming Nanjing, made so that a print looks like a brush painting.
Ukiyo-e Woodblock PrintsMass-produced Edo-period woodblock prints of actors, courtesans, legends and landscapes, designed by an artist, cut and printed by specialist craftsmen and sold cheaply by commercial publishers.
Chaekgeori & Minhwa Screen PaintingKorean painted folding screens of the late Joseon period.
Edo-moji Commercial Lettering (Kanteiryū, Yose-moji, Sumō-ji)The fat, ink-heavy brush hands that Edo's professional sign and bill writers made for the city's entertainments: Kanteiryū for kabuki signboards and playbills from 1779, yose-moji for rakugo halls, sumō-ji for sumo ranking sheets, and squarish kago-moji for votive name slips.
Shanghai Modern & YuefenpaiThe commercial art of treaty-port Shanghai.
- Taishō Roman & Lyrical IllustrationThe lyrical illustration (jojōga) of late-Meiji to early-Shōwa Japan, led by Takehisa Yumeji: willowy, large-eyed women in kimono drawn with an Art Nouveau contour, set among camellias and kimono patterns and lettered by hand.
- MavoTokyo's anarchist avant-garde, founded in July 1923 by Murayama Tomoyoshi, back from a year in Berlin, with four former Futurists, and its magazine MAVO (seven issues, July 1924 to August 1925).
Republican Chinese Book Cover Design (Lu Xun & Tao Yuanqing)The covers of China's New Literature.
Lianhuanhua Picture-Story BooksPalm-sized Chinese picture books, about three by five inches, that tell a novel, opera, film or revolutionary story in hundreds of single framed drawings, one to a page, each with a short caption.
Chinese Modern Woodcut MovementThe leftist print movement launched by Lu Xun's 1931 Shanghai woodcut workshop, which made the self-cut black-and-white woodcut China's art of national crisis and revolution.
Socialist Realist Propaganda PosterThe official art doctrine of the Soviet Union from 1932, later exported across the socialist world, which replaced avant-garde experiment with legible, heroic realism 'national in form, socialist in content'.
- Nippon Kōbō & Tōhōsha Photo-Propaganda Magazines (NIPPON & FRONT)Luxury photo-propaganda magazines that imperial Japan sent abroad, 1934–45.
Story Manga (Postwar Japanese Comics)The black-and-white narrative comic of postwar Japan, from Tezuka Osamu's Shin Takarajima (1947) to the weekly boys' magazines of 1959 and 1968 and the paperbacks that collect them.
Hong Kong Neon & Beiwei Shop-Sign LetteringThe night-time signscape of Hong Kong's Kowloon streets.
Japanese Postwar ModernismBuilding on the New Typography that Hiromu Hara and the Nippon Kobo circle had absorbed in the 1930s, Japan's postwar graphic designers fused the grid, sans-serif and objective photography of European modernism with indigenous traditions of family crests (kamon), asymmetry and charged emptiness (ma).
Taiwan Floral Cloth (Huabu)Cheap printed cotton covered edge to edge in large, full-blown peonies with lotuses, phoenixes, dragons, mandarin ducks, small florets and auspicious emblems on saturated vermilion, bright pink or sky-blue grounds.
Chinese National-Style Animation (Shanghai Animation Film Studio)The 'national style' of the Shanghai Animation Film Studio, which turned from Disney and Soviet models to Chinese media: Peking-opera masks and movement, paper-cut and folded-paper figures, mural and New Year print colour and, from 1960, ink-wash painting set in motion after Qi Baishi and Li Keran.
- Dazibao (Big-Character Posters)Handwritten wall posters in large brush characters that turned the walls of Mao-era China into a public forum for criticism, denunciation and, at the Democracy Wall, dissent.
Shōjo Manga (Japanese Girls' Comics)The look of Japan's girls' comics (strictly a readership, not a style), which Takahashi Macoto fixed in 1958 from the lyrical illustration (jojōga) of Nakahara Jun'ichi and the Year 24 Group remade in the 1970s.
Hong Kong East–West Graphic ModernismThe studio design of Hong Kong from the 1960s, made for banks, developers, trade bodies, hotels and cultural events in a city that had to speak Chinese and English at once.
Angura Theatre PosterThe posters of Japan's underground (angura) theatre from the mid-1960s to the mid-1980s, made for troupes such as Kara Jūrō's Jōkyō Gekijō and Terayama Shūji's Tenjō Sajiki.
Kawaii DesignJapan's culture of cuteness, which grew from 1970s teenage rounded handwriting and shōjo fancy goods into a global design language through Sanrio, character merchandise and emoji.
Bitmap & Pixel GraphicsGraphics and lettering built from the square pixels of low-resolution screens (arcade and console sprites, home-computer displays and the first graphical user interfaces), where every dot was placed by hand within tight limits of memory, resolution and palette.
City Pop IllustrationThe painted look of Japanese city pop record sleeves and magazine covers, fixed by Hiroshi Nagai's sleeve for Eiichi Ohtaki's A Long Vacation (1981) and Eizin Suzuki's for Tatsuro Yamashita's For You (1982).
Out-of-Square Hangul TypographyA Korean typographic movement that frees Hangul from the equal square in which metal and photo type had always set each syllable.
Techno-Futurist GraphicsElectronic-music and video-game graphics of the late 1980s and 1990s that turned corporate modernism into a sci-fi consumer fantasy.
Hype Streetwear Graphics (Box Logo to Quotation Marks)The logo-led graphics of streetwear since the 1990s: one wordmark or emblem on a plain T-shirt, hoodie or object is the product.
SuperflatThe flat, saturated, cartoon-crowded look that Takashi Murakami named in his exhibition and manifesto Superflat (Tokyo, 2000; US tour 2001).
Emoji Pictographic LanguagePictographs typed as characters and set inline in running text.
Japanese Dense Web DesignThe information-packed look of Japan's big portals, shops, airlines and ministries: three or more narrow columns of boxed modules, crowded with small Japanese text, blue links, tiny thumbnails, dated news lists and rotating ad banners, in bright colours on a white page.
Korean Commercial Calligraphy (Kaelligeurapi)Brush-written Hangul made for commerce, not the scroll.
Yuru-chara (Japanese Local Mascot Design)Japan's local mascots: characters commissioned by prefectures, towns and tourism bodies to stand for a place, named yuru-kyara ('loose characters') by the illustrator Jun Miura around 2000.
Korean Webtoon GraphicsThe full-colour, vertical-scroll comic that Korean web portals made standard in the 2000s and smartphone apps took worldwide.
- Contemporary Chinese Book Design ('Most Beautiful Books of China')Chinese book design since 2003, when Shanghai founded the yearly 'Most Beautiful Books of China' award, whose winners go on to Leipzig.
Itasha (Anime Character Car Graphics)Private cars, motorbikes and bicycles that Japanese fans of anime, manga and games cover with their favourite characters, named by the mid-2000s with the self-mocking word itasha, 'painful car'.
- Seoul Independent Graphic Design (Small-Studio Scene)Graphic design by Seoul's small, self-run studios, which from about 2005 chose to stay small.
- Danmaku Bullet-Comment OverlayThe bullet-comment layer of Japanese and Chinese video sites, begun on Niconico in December 2006 and taken up by AcFun and Bilibili in 2008–2009.
- Hong Kong Protest Art (Umbrella Movement to the 2019–20 Protests)The graphics of Hong Kong's democracy protests, from the 2014 Umbrella Movement to the national security law of 2020, in two linked media.
- VTuber Avatar and Stream GraphicsThe graphic kit of virtual YouTubers, streamers who perform behind an animated anime-style character instead of their own face.
- Lo-fi Anime AestheticThe look of YouTube's 24/7 lo-fi hip hop streams.
Newtro (Korean New-Retro)A South Korean branding trend, named 'Going New-tro' in Seoul National University's Trend Korea 2019 (October 2018), in which heritage firms reissue their own postwar to 1990s labels, trademarks and mascots, polished for young buyers.
Guochao (China-Chic National Trend)A Chinese branding and fashion trend, usually dated from Li-Ning's 'China Li-Ning' show at New York Fashion Week in February 2018, that redraws heritage motifs as finishes for sneakers, apparel, cosmetics and museum merchandise.
The design choices they share
The choices these styles make more often than the 359 styles in the atlas as a whole, most telling first.
- Rotated & vertical settingin 29 of 51
- Brush & pen calligraphyin 29 of 51
- Gradientsin 21 of 51
- Dynamic asymmetryin 23 of 51
- Nostalgic & retroin 18 of 51
- Generous white spacein 23 of 51
- Emblems & badgesin 28 of 51
- Calm & contemplativein 16 of 51